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 Book Waffensammlung Kuppelmayr München (Item OLD 4-1)

DESCRIPTION: Published around 1895, this book contains 30 large, full-page plates of one of the finest collections of medieval armor in the world at the famous Max and Rudolph Kuppelmayr Armory. There are also 43 pages of text explaining the plates of weaponry and armor. This is a huge book measuring 13 x 17 inches and the condition is quite good, except for some expected scratches on the covers. The binding and covers are of leather. It is patently obvious that this is a very limited edition and no doubt was meant for professional archives, museums, libraries, etc. This volume is extremely rare and should be preserved in a fine collection of such items as covered here.

PRICE: $ 750.00

 

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 Book Der Ring des Nibelungen, The Ring of the Nibelungen, in pictures by von Hermann Hendrich (Item OLD 4-2)

DESCRIPTION: This is a very large 16 ½ x 11 ½-inch coffee-table volume which illustrates in color pictures this the greatest of Richard Wagner's famous operas. There are 13 full-color surrealistic prints on very heavy paper depicting the various scenes from the immortal opera. These prints are from the paintings of Hermann Hendrich?? famous painter of the German court scene. Here is "The Rheingold," "The Nibelhelm," "The Hundingshutte," "The Ride of the Valkiries," "Wotan," etc. The foregoing pages are an explanation in German and English. This is a wonderful and historically important book that belongs in the library of the complete Germanophile.

PRICE: $ 195.00

 

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Hand-painted Miniature Portrait of Richard Wagner (Item OLD 4-3; ART 6-1; KPAINTING 1-7))

DESCRIPTION: The great composer, Richard Wagner, regarded himself the most German of men. He wrote 13 world-famous operas and numerous other compositions. He, indeed, was the embodied spirit of German Teutonic dignity and iron resolve. His masterful work stands as evidence of true German culture and history. Besides his activity as a composer and librettist, Wagner wrote an astounding number of books and articles. In fact, he produced about 230 titles. In addition, he wrote about 10,000 letters. Richard Wagner is undoubtedly one of the leading figures of the 19th century. In his time he was a source of heated debate and controversy. When the master died in 1883, over 10,00 books had been written about him and of course the amount of research has multiplied after his death. He was considered along with many other famous people an anti-Semite and radical, even anarchist, and proto-Fascist. In fact, his name appeared in connection to almost all major trends in German history of the 19th and 20th centuries. One of his most poignant sayings seems to sum up his wonderful life and deeds: "I have long been convinced that my artistic ideal stands or falls with Germany. Only the Germany that we love and desire can help us achieve that ideal. This composer in my Germanophile stands head and shoulders above all the other of his great peers. This wonderful rendering of the Meister is one of the best portrayals we have ever seen. It captures all the dignity and charm of this brilliant genius. It is painted painstakingly in miniature by the hand of an extraordinary artist. Each hair of the head is depicted with the tiny brush. The color is still vibrant. It is encased under glass that is beveled with floral design and then instead of the more usual bone piano-key-cut pieces, this one is remarkable and I would say very unusual in that it has an inlaid brass leaf or floral design that was hand cut and inserted masterfully into what appears to be genuine tortoise shell that, in turn, is mounted on bone slabs that make into a planchet. The frame measures 3 ½ x 3 ¾ inches with the oval-shaped painting being about 1 ¼ x 2 inches. The velvet back shows its age (probably as far back as 1870). Underneath the velvet was a covering using a page of newsprint and then you can see the metal tabs holding the portrait in place. Invariably, these are left open from curious individuals probing to check whether the rendering is done on ivory-it is not; it's on porcelain! So Germania now offers the priceless, once again, with a price. Here is a museum piece extraordinaire with an extremely reasonable set worth.

PRICE:  SOLD

 

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Hunting Scene in the Medieval Motif (Item OLD 4-4; HUNT 5-7)

DESCRIPTION: Here is a positively great item for inclusion in any serious German Teutonic hunting collection or collection of true Germanic antiquities. This is a true museum piece personified! It depicts a hunter on horseback, who, with his dog, runs down a stag. This presentation was produced using the art of marquetry; the craft of making pictures from wood veneers. There are similar pieces in the fine German museums such as the Jagdmuseum in Munich. The piece is 33 inches by 19 inches. The hand-carved frame is crafted with true inlay; a very difficult process requiring the truly skilled hand of a master. We feel that this magnificent piece may be from the late 18th or early 19th century. Simply wonderful for a fine and advanced hunting collection or for the of collector museum-grade Germanic relics.

PRICE: $1,800.00; a museum treasure

 

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Black Forest Carved Picture (Item OLD 4-5)

DESCRIPTION: Here is a very early and fine Black Forest scene completely hand carved in the medieval manner. However, we believe the piece was from the early 19th century with the distinct possibility of being late 18th century. The work is excellent depicting a country scene of jubilant peasants performing a round dance while the town fiddler plays his fiddle. A banner flies outside a window in festive manner. It measures 25 x 24 inches. The condition for such an antiquity is excellent. If this item were framed it would make a great centerpiece for the true dedicated Germanophile.

PRICE: $950.00; a bargain

 

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Precious Tile from Lower Bavaria or Austria (Item OLD 4-6)

DESCRIPTION: Here is a huge and heavy tile in its original frame. It is probably from the early 18th century or possibly the late 17th century. In any case, it is a treasure that any German museum of antiquity would adore. The piece is entirely hand painted and constructed. Even the frame is special hand carved by a wood-carving master with scrollwork, oak leaves, and acorns surrounding a geometric design of spaced rectangular-shaped indents and slots; an interesting potpourri of radically different art motifs. The central figure depicts a Germanic peasant or Landsknechtdressed in the 16th-century costume of a leader of a Betreib or farming community. The Landsknecht were farmers, but also, mercenary soldiers fighting for whomsoever will hire them. The enameling process seen here is reminiscent of pieces we have seen in German museums that were as early as the 16th century. The wood frame has that look as well, so we could be all off as to dating. This could be a very early artwork indeed. When we bought it in a very prestigious estate sale it was coming loose in the back where slated boards were used to form the backing. So we had to use modern brads to replace the rusted old nails that were letting go, unfortunately. These slats also are indicative of great age as larger backing in 20- x 26-inch panels would have been very scarce in those early years and practically every lumber merchant would have been hard pressed to produce such a rare commodity. The face of this Bauer-Soldaten would almost be seen to breathe. The piece weighs almost 30 pounds. It measures in the frame 22 ½ x 28 inches. The portion of the tile that shows is 15 x 20 ½ inches-big and heavy! This was obviously the work of a master for a town-center display or possibly in the Ratthaus (city hall) or on special order by landed gentry. Clearly it is special. There are such likenesses shown in the magazine of the Haus der Deutschen Kunst in Munich. That is when this museum was titled as above and had such masterpieces on display. Now it is the Haus de Kunst. They dropped the awful word “Deutschen.” The so-called art on display is utter trash. The very garbage that was on display in Munich and the display was named Degenerate Art. The tile depiction that we offer here is Practvoll Kunst, (glorious art) in the best sense of the words. This is possibly the largest of these fantastic early tiles we have ever seen.

PRICE: $3,200.00

 

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Battle of the Teutoberg Forest; Schlacht in Teutobergerwald (Item OLD 4-7; ART 6-18; PICS 1-9)

DESCRIPTION: This was originally an Entwurf (design) for a tapestry by the famous Old Reichist Werner Peiner. It depicts in dramatic and colorful detail the victorious Germans under Arminius or, as he was called by his people, Hermann der Cherusci. (See our write-up at Beer Steins, Item 1-8.) The Germanic warriors fell upon the Roman invaders with a fury unbounded. Former tribes, who had warred against each other for centuries, drew together under Hermann’s leadership and soundly defeated the proud legions of Imperial Rome. Quintilius Varus, seen at about one o’clock in the portrayal, looks flabbergasted and in complete surprise in the first moments of the battle. The annihilation was complete with no survivors among the legions. The battle changed completely the course of history. This depiction is only a mid detail of the much larger portrait. Looking closely one can see the NSDAP motif on various Germanic war shields. For some rather humorous relief in an otherwise bloody confrontation note the two figures in the covered wagon, especially the posterior of the guy with the red trousers. Peiner was not without humor. This is an absolutely original-period print, not a copy. We went to considerable expense to have it specially framed simply because this battle was the world’s most important one and the beautiful depiction by Peiner deserves no less. It measures 21 ½ x 18 ½ inches in the frame. The actual picture is 14 x 10 ½. This is truly a thing of beauty and since it is original it is also worthy of preserving.

PRICE:  SOLD

 

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Set of Germanic Drinking Steins (Item OLD 4-8)

DESCRIPTION: Here is a beautiful set of beer steins depicting the Alte Germanen Reich of Hermann the Liberator, the hero of the Battle of the Teutoberg Forest, where the united Germanic tribes defeated and destroyed the Roman legions under General Varius, who, in his conquests, treated the Germans as slaves. For more detail of this earth-shattering battle see our description of it at our section Old Reich, Item OLD 4-7 and Beer Steins, Item KSTEINS 1-8. The scene that is depicted on one side of the main large serving stein is the elopement of Hermann with the daughter of Segestes, the chieftain who was Hermann’s main rival and enemy. The other side has a depiction of Germanische Saenger, or German singing festival. In another panel is a fierce-looking figure with upraised arm and the legend underneath “Segest’s Racheschwur” and translates to “Oath of Revenge” by the above-named Segestes. The designs are boldly raised in high relief. Depictions of Teutonic swords, shields, and hunting horns adorn the upper rim, while cameo depictions of Nordic gods and goddesses appear between sprays of oak, the Holy tree of German saga. The pewter, too, is done in the traditional style of the 1890’s and is five ringed. This is quite a large serving stein, about 18 inches high. It is unsigned but of Metlach quality. There are no chips no abrasions, nice! Along with the serving stein are four small beer steins that match in their decorative motif. They are also three paneled with a depiction of Germanic tribesmen drinking their beer from drinking horns. Then in front a Teutonic warrior, who also seems to be imbibing the golden brew. At the other side we perceive the lady of the Germanenhaus with her children and pet dog in an idyllic scene. The figure at the front, while indulging in the drink, is leaning on a shield that has words that proclaim (loosely translated): “Beautiful for two thousand years the old German drinkers were!” These smaller steins are about 7 inches high and they also are in perfect condition. This set is the perfect central decorative item for any good Germanophile’s collection not only for their antique and artistic value, but for the historic importance of the Hermann (Arminius) saga as well.

PRICE:  SOLD

 

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Old, but Magnificent Cigar Box Label (Item OLD 4-9)

DESCRIPTION: This is a small bit of Imperial splendor that emerges from the not-too-distant past. German advertising art was often the finest in historic realism. There was always a great and vivid interest in the glories of the past and it reflected especially in the Third Reich in the patterns of weaponry, salutes, medalic arts, and especially flags and standards. The Deutschland Erwache standard was directly copied from the standards of ancient Rome and this is not the only item emulated. Take, for instance, the pattern of the Labor Corps daggers. Here is an absolutely beautiful label that has been appropriately framed. It shows two Roman centurions with standards held aloft. They are costumed appropriately with a bust portrait of Caesar in the center in coin fashion. There are other coins evident, as well. Between the centurions is Aquila, the Roman Imperial Eagle. All in all it is a wonderful portrayal of Romanesque grandeur. The gold decoration is pressed into relief and stands out magnificently. The frame is 15 1/2 x 13 inches. The actual print is 8 x 5 1/2 inches. The piece is probably from about 1890 to 1913 or so. What can we say? It’s beautiful!

PRICE: $185.00; the set

 

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Wagnarian Painting in Oil (gigantic proportion) (Item OLD 4-10; ART 10-1)

DESCRIPTION: Well here is just the thing for the compleat Germanophile, a wonderful rendition of the Siegfried and Brünnhilde sequence from Der Ring des Nibelungen by the immortal Richard Wagner, 1813-1883, who was the greatest composers of German opera. “The Ring” was based on the 12th-century, middle-high-German epic poem of the Nibelungenlied or sometimes referred to as the Volsung Saga and is one of the oldest Norse epics. This very definitely influenced “The Ring” cycle in Wagner’s repertoire. The love affair between Siegfried and Brünnhilde, the maiden, who was one of the daughters of Wotan, the Norse god. Brünnhilde was one of the daughters of Wotan known as Walkyries among whom she was known to be the noblest of all the sisters. Siegfried the Volsung comes into the possession of the magical rings, slays, the evil dragon Fafner with his father’s broken sword. He also slays the dwarf Mime, takes the cursed ring, frees Brünnhilde from the spell that has kept her asleep and falls deeply in love with her; and here begins the tale of intrigue, high adventure, betrayal, and noble purpose. The portrayal of the lovers is very Germanic of course and certainly dramatic in the Teutonic 19th-century art manifestation and symmetry. This is for the true Germanophile. The picture is not framed and the buyer might even want to take it off the stretcher for shipping. It is magnificent rendering of the immortal story. It measures 43 x 56 inches and would be a very wonderful addition to your estate or castle. On the other hand it could even beautifully grace even a small apartment—reserve a whole wall for it, however. Remarkably, the work is unsigned.

PRICE:  SOLD

 

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Museum-Grade Meerschaum Pipe (Item OLD 4-12)

DESCRIPTION: Here is something that practically belongs in the Dresden collection known as the Green Room, where important German antiquities are kept on display. This pipe probably dates back to the early 18th century. It depicts in exquisite hand carving of a cherub riding on a mythical sea creature that puts one in mind of Boecklin’s Sport of the Waves that was, incidentally, the favorite painting of Dr. Paul Joseph Goebbels. The figures are very typical of work performed by artisans of the 1600s. The cherub is seen to be blowing a small musical instrument perhaps summoning a school of mythical fish creatures like the one that is his mount. The pipe shows much use as you can see by the blackening of the creature’s open mouth. (It was definitely smoked!) The amber stem is missing, of course, after about 300 or 400 years. This is an important relic of long ago and really should be in a museum. It’s a treasure for the Germanophile and should be encased in a showcase under glass.

PRICE: $475.00

 

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The Oath of the Sword, “Schwert-Schwur,” Bronze Sculpture (Item OLD 4-13; ART 10-6)

DESCRIPTION: This is an utterly magnificent bronze sculpture created by a master artist. It depicts in startling reality the sacred oneness that the old Teutonic tribes felt for the sword. The Schwert-Schwur or Eid der Klinge personified this infinity with the weapon. This was the oath of the sword or blade. In this ceremony the brotherhood of warriors pledged their loyalty and fidelity to folk and community. All the tribes observed this sacred oathing, the Cimbri, and the Teutones and the Istavones, who after war, became the Franks. The Chauci, who became the Saxons, all were united in the importance of the oath. The Germanic tribes regarded each other as brethren and equals and they were united under great leaders. Everyone enjoyed personal freedom and had an exclusive right over his own property. “Liberty,” said the Roman poet Lucanus, “is the German’s birthright.” “It is a privilege,” wrote the Roman historian Florus, “which nature has granted to the Germans and which the Greeks with all their great art knew not how to obtain.” Hume, the great English historian, says, “If our part of the world would maintain sentiments of liberty, honor, equity, and valor superior to the rest of mankind, it owes these advantage to the seeds implanted by these generous Barbarians.” “Liberty,” observed Montesquien, “that lovely thing, was discovered in the wild forests of Germany.” “Who,” asks Seneca, “is braver than the German?” Sidonius says, “Death alone subdues them.” The emperor Titus said, “Their bodies are great, but their souls are still greater!” And we know that the prevailing thought of these men at arms was always that “an existence devoid of strength and beauty appeared to him to be worthless and according to their religion the joys of Walhalla (heaven) would only be granted to those who fell by the sword. Valerius Maximus relates that they sorrowed when dying on their beds and rejoiced while expiring on the field of battle, sword in hand. The old Germans despised as effeminate the refinements of civilized life and every wall appeared to them as a prison. The sword was the usual marriage gift between a bridal pair and the woman also learned to use it and the sacred sword oath was also used in the wedding ceremony when swearing to marital fidelity. The old song of Wieland in the northern Edda has the words “thou shalt swear to me by the deck of the ship and the rim of the shield, by the withers of the horse, and the point of the sword.” The sword was also considered as proof of illustrious descent and was handed down from one generation to another. In the popular religion war was regarded as a sacred and imperative duty. The gods were even supposed to ride daily on the plains of Ida and do battle with each other, after which they held a joyous carousal in Walhalla, “The Hall of the Dead,” where the souls of warriors who had fallen honorably by the sword were received and permitted under the name of Eiheriar to join in the battles and drinking feasts of the gods. Thus, a warrior’s death was the aspiration of every German, as that alone could unlock for him the gates of the blessed abode. The sword occurs in practically all Germanic legends. The Walkyren, or celestial women, were believed to be heavenly maidens, who hovered over every battlefield and chose expiring heroes for their companions in the eternal joys of Walhalla, a belief which caused German warriors to look upon death as a nuptial festival in the skies. Earthly maidens were also regarded as Walkyren, when they girded on the sword. The saga of Siegfried made famous by Richard Wagner features the sword “Nothung” with which he slays the dragon Fafner. The sword (his father’s) is reforged. It was originally the magic sword of Siegmund that was shattered by Wotan as punishment, but after the reforging by Siegfried it becomes Nothung and symbolically cuts the iron anvil in half as the first test of the magic sword once more lifted in the joyous sign of victories to come. So, the sword to these Teutonic heroes of history and legend was obviously the pivotal object with no comparison for reverence, tradition, and even spiritual power. The magnificent sculpture we offer seems to sum up all these ancient Germanic values and sacred beliefs. The figure stands 33 inches high from the bottom of the base to the raised fingertips. The base is 10 1/2 inches in diameter. The Teutonic sword is 13 1/2 inches long. It was sculpted by Emilie LaPorte, 1858-1907, a master artist in bronze sculpture of the mid-to-late 19th century. LaPorte was especially known for his creations of heroic Norsemen, Teutons, and other Germanic warriors and leaders such as Veacingetorix and Hermann, Arminius, hero of the Battle of the Teutoberg Forest, and other notables of Germanic history. The sculptor was French by nationality he loved the Teuton in all his artistic perspectives. The statue depicts the warrior holding the typical Alte Germanen sword, while his other hand is raised in the Schwert-Schwur, the oath of the sword. He is dressed in the Tracht, costume, of the Cheruski, the tribe of Hermann the Befreier (the liberator). For more on this see Item ART 7-12 and Item KSTEIN 1-8. The winged helmet was used by chieftains of these tribes and it is accurately depicted. This is an awesome sculpture: dramatic and exquisite in the greatest degree of pictorialization and simulation possible. It brings thoughts of glory, bravery, reverence, and extreme fidelity. This is truly a museum piece worthy of honorable presence in the forefront of any special collection.

PRICE: $18,000.00

 

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Wagnerian Plaque (Item OLD 4-14; ART 11-2)

DESCRIPTION: Here is an absolutely beautiful art metal plaque depicting Wotan and Brünnhilde. We had a painting of this very same scene that was sold; however, at that time the cast of characters was unfortunately misnamed. We do make a mistake now and then! The scene is in actuality Wotan’s farewell to Brünnhilde. To see more about this see Item ART 10-1. The plaque is in pewter or (Zinn) and measures about 13 x 10 inches. The condition is excellent and it is in part 3rd dimensional in that the arm of the god Wotan extends out of the scene (literally) and he clutches his lance, which is wholly 3rd dimensional (completely separate from the depiction, yet part of the scene). This was popular motif at the turn of the 20th century. There is a presentation inscription at the bottom of the plaque: ‘Ludwig Treutler s/l Joseph Grates in memory of Stratsund 14 1 08.’ Could this be a memory of when the two gentlemen attended the Wagnerian opera as ardent admirers of his ring cycle? We will probably never know. It is at best interesting speculation. In any case, here is a beautiful relic of a bygone age of splendor and glory.

PRICE:  SOLD

 

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German Rapier Fashioned with Russet Steel Hilt (Item OLD 4-15)

DESCRIPTION: This is in the true Pappenheimer style from the second quarter of the 17th century. Blade is of the diamond-section style. Overall measurement is 52 1/2 inches. The blade is 44 inches with pierced cup guard; tight wire-wrapped grip. We believe the inscription on the blade is “Me Fecit Solingen” because this is usual on this style of Pappenheimer, but it is no longer discernable. The pommel is of the Italian style, but most likely crafted in Germany along with the rest. The double fuller goes three fourths of the blade length. The arms of the hilt are in the classic Pappenheimer style. The forward and rear quillons are curved; the rear one more so than the forward. The knuckle guard is also with the classic Pappenheimer snake-head curve. The ferrule, the part that first loosens up over the years, is tight. The point has been dulled, but the rest of this museum-worthy weapon is in fine to excellent condition. Seldom does an example like this ever surface and become available. We proudly offer this genuine historically important relic to the collecting enthusiast.

PRICE:  SOLD

 

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